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WN 37, Lento con gran espressione

Text Compare Notes Sources Description

Issues : Corrections in A

b. 5

composition: WN 37, Lento con gran espressione

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In A1 one can see that the 6th quaver was initially an f, like in b. 13 and 46.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Accompaniment changes

b. 15

composition: WN 37, Lento con gran espressione

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In A1 one can see a correction of the last semiquaver in the 1st half of the bar, which was initially written as c3. Chopin then crossed out the  and enlarged the notehead so that it reaches the line above and looks like d3. The original version is preserved in b. 48.

category imprint: Corrections & alterations; Source & stylistic information

issues: Corrections in A , Deletions in A , Enharmonic corrections

b. 24

composition: WN 37, Lento con gran espressione

c1 in A1

e1 in CK (→CB) & EL
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e1 in the version of CK (→CB) and EL must be Kolberg's mistake – in A1 one can see that the note was corrected from e1 to c1. The version with c1 is an unquestionable Chopinesque improvement – it alleviates the impression of A-e1 having been moved parallel to F-c1, which opens the next bar.

category imprint: Differences between sources; Source & stylistic information

issues: Corrections in A , Terzverschreibung error

b. 31

composition: WN 37, Lento con gran espressione

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The traces of a  visible in the L.H. part in A1 at the beginning of the bar show that Chopin started writing d here, yet he realised it quickly and wrote c.  

category imprint: Source & stylistic information

issues: Corrections in A , Enharmonic corrections

b. 44

composition: WN 37, Lento con gran espressione

Crotchet, 2 quavers & triplets in A1

Triplets in CJ, contextual interpretation

Triplets in CK

Triplets in CB

Triplets in EL
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The rhythmic notation of A1 gives rise to doubts in this bar, since in spite of the change of time signature to , the bar contains 5 crotchets. Initially, Chopin most probably envisioned triplet movement, like in the version of [A2] (→CJ,CK), yet he eventually changed the first note from a quaver to a crotchet and added rests. Therefore, we adopt this notation, imprecise, yet suggestive, as the text of this autograph.

The rhythm of the sources coming from [A2] is generally unambiguous; although it is only in CB that the notation can be considered correct, minor inaccuracies in the remaining sources do not hamper its interpretation. In the main text we give the text of CJ, completed with a rest for the R.H. part, without which the notation could be misleading.

category imprint: Interpretations within context; Differences between sources; Corrections & alterations; Source & stylistic information

issues: Corrections in A , Chopin's hesitations , Errors resulting from corrections , Deletions in A , Main-line changes